Hughes
ON a keyed instrument only twelve are major key-notes, but as the double tones C#-D? and F#-G? are roots, there are fourteen different chords. The fourteen that are roots are written in musical clef. As an example of the major chords in the different keys, we may examine those in the key of C. A major fifth includes five out of the seven of its key; with the third or central note it is the threefold chord, or fourfold when the octave note is added. Including the silent key-notes, a threefold chord embraces eight, or, counting the double tones, not including E#, eleven. The first and second chords of the seven of the harmony are perfect major chords in the key of C; the central note of the third chord, being #C-?D, is a discord. The first pair of fifths in the scale, with its central note, is a chord of the key; if we include the octave, the last pair of fifths, with its central note, is the same chord an octave higher than the lowest chord of the seven. Of the chords written in musical clef of the twelve keys, the octave chord is only written to C, the seven of each having two chords and the scale one, thirty-six in all, or forty-eight if the octave chords are added. Notice how the chords of each seven and the chord of its scale are altered. [Harmonies of Tones and Colours, Diagram V - The Chords of the Twelve Major Keys, page 27a]
ALTHOUGH only twelve notes of a keyed instrument develope perfect minor harmonics, there are fifteen different chords, the double tones D#-E?, E#-F?, A#-B? all sounding as roots. The fifteen roots are written in musical clef. A major and a minor fifth embrace the same number of key-notes, but the division into threefold chords is different. In counting the twelve, a major fifth has four below the third note of its harmony, and three above it; a minor fifth has three below the third note of its harmony, and four above it. A major seventh includes twelve key-notes, a minor seventh only eleven. As an example of the minor chords in the different keys, we may first examine those in the key of A, written in musical clef. The seven of its harmony have two threefold chords, and two of its ascending scale. If we include the octave note, the highest chord of the descending scale is a repetition (sounding an octave higher) of the lowest chord of the seven in its harmony, and the second chord of the descending scale is a repetition of the first chord of its ascending scale. These two repetition chords are only written to the key of A: the chords of the other eleven keys will all be found exactly to agree with those of A in their mode of development. We may again remark on the beautiful effect which would result if the colours of the minor chords could be seen, with the tones, as they develope. [Harmonies of Tones and Colours, Diagram XII - The Chords of the Twelve Minor Keys, page 37a]
If we examine the line last quoted by the laws of life which regulate the foregoing scheme, we may compare it with the fundamental threefold chord of the scale of C and its relative colours,
| C | E | G | C red rises
|
RED. | BLUE. |
from the fountain key-note which contains in itself all tones. "Him first," the Son of God proceeding from the Almighty, and yet in Himself the Trinity in Unity. E, yellow or light. E is the root of B, ultra indigo, or black. "Him midst," the Almighty Father, the Fountain of life, light gradually rising and dispelling darkness. G, blue, "Him last," the Holy Spirit, proceeding from the Father and the Son, Trinity in Unity. The Son of God and the Holy Spirit are the complemental working pair throughout the universe; each containing "the seven spirits of life." Red and blue contain all colours in each. C and G are a complemental pair, C rising from the fountain key-note which contains in itself all tones, and C and G combine all tones in each. In Chapter III. it is explained that all varieties of tones and colours may be condensed into this pair, rising from and falling again into the fountain. [Harmonies of Tones and Colours, Reflections on the Scheme2, page 44]
See Also
major threefold chord
Ramsay - The Chromatic System, like the Diatonic, Threefold
three
threefold chord
threefold cord
threefold major chord
threefoldness